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Abstract


Zulaykha’s Palace: On the Origin of the Seven- Room Palace in the Yusuf and Zulaykha Mathnawis
The palace built by Zulaykhâ in Yûsuf and Zulaykhâ mathnawis written within the scope of classical Ottoman literature is an important turning point in terms of the change of the characters and the course of the story. This palace has not been examined in detail in the studies carried out so far, briefly, it has been focused on what the poets likened this palace to. In this article, how Zulaykhâ’s palace was depicted by the poets in Yûsuf and Zulaykhâ mathnawis written between the thirteenth and eighteenth centuries was examined in detail and the mythological origins of the motifs included in connection with the palace were investigated. In what way the palace undergo a change in mathnawis over the centuries, the factors that contributed to this change were examined and the reasons for the poets to include these motifs were questioned. In the mathnawi written in the thirteenth and fourteenth centuries, it is seen that the poets mainly focused on the idea of heaven and the cosmic tree in the palace, which has mythological features. However, the depiction of the palace has changed after the fifteenth century and is handled through the concept of skies. However, in addition to this imagination, similar motifs that are common to all mathnawis continue to be used. In this change, Yûsuf’s identity, which was wrapped in mythological features and resembled plant and sun gods, is an important factor. In addition, Zulaykhâ’s identity must be related to the woman named Asenath, who dates back to the Torah narrative and is said to be Yûsuf’s wife. The narratives of Asenath, which varied in the apocryphal Jewish texts, and the tower of Asenath in these narratives were probably effective in diversifying the details of Zulaykhâ’s palace.

Keywords
Yûsuf, Zulaykha, Zulaykha’s Palace, Cosmic Tree, Torah, Mythology



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